American Cinematographer - April 2010 - 59
rest of the picture. With light spread so thin for the chase sequence, the 500ASA Vivid was pushed to its limit. “Paul wanted those scenes to feel like death, so we used a heavy green gel [219, with 251 diffusion] that took 2½ stops out of the light,” says Ackroyd. “We were underexposing to get what I call ‘a night feel,’ but using a T2.8 zoom lens in such dark conditions, when you’re already 2 or 3 stops underexposed, can get scary. We were doing all the things you’re not meant to do with film stock in order to tell the audience that this is a place of death. The grain became part of the story.” Throughout the shoot, the production’s footage was processed by Soho Film Lab and transferred at Ascent 142 on an HD Spirit DataCine. Ascent 142 also handled the digitalintermediate scanning, color correction and filmout. AC caught up with Greengrass and Ackroyd again partway through the grade, which they were
carrying out with colorist Rob Pizzey. The filmmakers mulled over their rather unusual approach to such a big production. “The trick is not being afraid of the scale,” says Ackroyd. “It’s just film moving through a camera. As long as it’s good in front of you, you can capture it.” Greengrass notes, “We tried to stay true to a look for the film that unfolded as we made it, a look that was extremely direct and straightforward. Barry never wants to photograph something without it having a simple, direct humanity; that’s a great eye to have. If I’m doing a scene with him and I sense something that doesn’t feel right that I can’t put my finger on, I’ll know for sure that Barry has sensed it, too. In the end, that is, I think, the most defining bond that has to exist between a director and a cinematographer.” ●
TECHNICAL SPECS
2.40:1 3-perf Super 35mm Arricam Lite, Arri 235 Nikon, Angenieux Optimo, Zeiss Ultra Prime lenses Fuji Eterna Vivid 500 8547; Eterna 250D 8563, 500T 8573 Digital Intermediate Printed on Kodak Vision 2383
59
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American Cinematographer - April 2010
Table of Contents for the Digital Edition of American Cinematographer - April 2010
American Cinematographer - April 2010
Contents
Editor’s Note
President’s Desk
Letters
Short Takes
Production Slate
Down the Rabbit Hole
Weapons of Deception
The Final Frontier in 3 Dimensions
Sundance 2010: Expanded Palettes
Filmmakers’ Forum
New Products & Services
International Marketplace
Classified Ads
Ad Index
Clubhouse News
ASC Close-Up
American Cinematographer - April 2010 - Intro
American Cinematographer - April 2010 - American Cinematographer - April 2010
American Cinematographer - April 2010 - Cover2
American Cinematographer - April 2010 - 1
American Cinematographer - April 2010 - 2
American Cinematographer - April 2010 - Contents
American Cinematographer - April 2010 - 4
American Cinematographer - April 2010 - 5
American Cinematographer - April 2010 - 6
American Cinematographer - April 2010 - 7
American Cinematographer - April 2010 - Editor’s Note
American Cinematographer - April 2010 - 9
American Cinematographer - April 2010 - President’s Desk
American Cinematographer - April 2010 - 11
American Cinematographer - April 2010 - Letters
American Cinematographer - April 2010 - 13
American Cinematographer - April 2010 - Short Takes
American Cinematographer - April 2010 - 15
American Cinematographer - April 2010 - 16
American Cinematographer - April 2010 - 17
American Cinematographer - April 2010 - 18
American Cinematographer - April 2010 - 19
American Cinematographer - April 2010 - Production Slate
American Cinematographer - April 2010 - 21
American Cinematographer - April 2010 - 22
American Cinematographer - April 2010 - 23
American Cinematographer - April 2010 - 24
American Cinematographer - April 2010 - 25
American Cinematographer - April 2010 - 26
American Cinematographer - April 2010 - 27
American Cinematographer - April 2010 - 28
American Cinematographer - April 2010 - 29
American Cinematographer - April 2010 - 30
American Cinematographer - April 2010 - 31
American Cinematographer - April 2010 - Down the Rabbit Hole
American Cinematographer - April 2010 - 33
American Cinematographer - April 2010 - 34
American Cinematographer - April 2010 - 35
American Cinematographer - April 2010 - 36
American Cinematographer - April 2010 - 37
American Cinematographer - April 2010 - 38
American Cinematographer - April 2010 - 39
American Cinematographer - April 2010 - 40
American Cinematographer - April 2010 - 41
American Cinematographer - April 2010 - 42
American Cinematographer - April 2010 - 43
American Cinematographer - April 2010 - 44
American Cinematographer - April 2010 - 44a
American Cinematographer - April 2010 - 44b
American Cinematographer - April 2010 - 45
American Cinematographer - April 2010 - 46
American Cinematographer - April 2010 - 47
American Cinematographer - April 2010 - Weapons of Deception
American Cinematographer - April 2010 - 49
American Cinematographer - April 2010 - 50
American Cinematographer - April 2010 - 51
American Cinematographer - April 2010 - 52
American Cinematographer - April 2010 - 53
American Cinematographer - April 2010 - 54
American Cinematographer - April 2010 - 55
American Cinematographer - April 2010 - 56
American Cinematographer - April 2010 - 57
American Cinematographer - April 2010 - 58
American Cinematographer - April 2010 - 59
American Cinematographer - April 2010 - The Final Frontier in 3 Dimensions
American Cinematographer - April 2010 - 61
American Cinematographer - April 2010 - 62
American Cinematographer - April 2010 - 63
American Cinematographer - April 2010 - 64
American Cinematographer - April 2010 - 65
American Cinematographer - April 2010 - 66
American Cinematographer - April 2010 - 67
American Cinematographer - April 2010 - 68
American Cinematographer - April 2010 - 69
American Cinematographer - April 2010 - 70
American Cinematographer - April 2010 - 71
American Cinematographer - April 2010 - Sundance 2010: Expanded Palettes
American Cinematographer - April 2010 - 73
American Cinematographer - April 2010 - 74
American Cinematographer - April 2010 - 75
American Cinematographer - April 2010 - 76
American Cinematographer - April 2010 - 77
American Cinematographer - April 2010 - 78
American Cinematographer - April 2010 - 79
American Cinematographer - April 2010 - 80
American Cinematographer - April 2010 - 81
American Cinematographer - April 2010 - 82
American Cinematographer - April 2010 - 83
American Cinematographer - April 2010 - 84
American Cinematographer - April 2010 - 85
American Cinematographer - April 2010 - 86
American Cinematographer - April 2010 - 87
American Cinematographer - April 2010 - Filmmakers’ Forum
American Cinematographer - April 2010 - 89
American Cinematographer - April 2010 - 90
American Cinematographer - April 2010 - 91
American Cinematographer - April 2010 - New Products & Services
American Cinematographer - April 2010 - 93
American Cinematographer - April 2010 - 94
American Cinematographer - April 2010 - 95
American Cinematographer - April 2010 - 96
American Cinematographer - April 2010 - 97
American Cinematographer - April 2010 - International Marketplace
American Cinematographer - April 2010 - 99
American Cinematographer - April 2010 - Ad Index
American Cinematographer - April 2010 - 101
American Cinematographer - April 2010 - Clubhouse News
American Cinematographer - April 2010 - 103
American Cinematographer - April 2010 - ASC Close-Up
American Cinematographer - April 2010 - Cover3
American Cinematographer - April 2010 - Cover4
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